‘The Idol’: Voice cracks midway through Gaza singer’s story

Mohammed Assaf won the second season of “Arab Idol” in 2013, overcoming political obstacles and personal tragedy — just the kind of story the “Pop Idol” franchise and its most popular spinoff, “American Idol,” prize above all else (with the possible exception of singing ability).

“The Idol,” Hany Abu-Assad’s film, tells a somewhat fictionalized version of the story — two stories, really, one more compelling than the other. The film begins with a young Mohammed (Qais Atallah) playing and arguing and romping around the streets of Gaza with his sister Nour (Hiba Atallah). She’s tougher than he is, but he’s got a golden voice, something she recognizes before anyone else, so she gets a band together. To her, it’s his ticket out of their war-torn home, one where some deride the children for playing music at all (others don’t want Nour to play because she’s a girl).

Mohammed isn’t so sure about his future. Mostly he just wants to sing. But tragedy strikes at home, and time passes (allowing Tawfeek Barhom to take over the role of Mohammed). Now Mohammed is in school and driving a taxi to make ends meet — but his voice is still golden.

This is where the film switches gears, and not in a good way. The story to this point has been intriguing, and first-time actor Hiba Attalah is one of the main reasons. Her Nour is the driving force behind the early part of the film, and what will become Mohammed’s success. Why do some actors draw our attention? In this case it’s her enthusiasm, her zest for life (foreshadowing alert), her big eyes that seem to capture her family’s situation, evaluate it and scope out the best possible future for her brother.

The grown-up Mohammed wants to compete on “Arab Idol.” He tries to audition but can’t get past the borders, so he attempts an ill-fated performance by Skype. (A faulty generator is to blame.) He sets his sights on the try-out proper, but this means sneaking past border guards — and a former bandmate who’s now a religious zealot — to get to Egypt. Abu-Assad plays with the real story a bit here, but Mohammed’s journey was harrowing, his resolve inspirational.

Once he’s made it past a certain point, however, Abu-Assad begins to rely, a lot, on clips from the real “Arab Idol” broadcasts. It’s weird, in part because Barhom doesn’t look like Mohammed, but also because it makes the previous lip-syncing seem even more ludicrous. Abu-Assad also speeds up the timeline to the point that the final rounds rush past in a blur, draining them of drama even as Mohammed becomes more and more an inspirational symbol for his people (something that causes him great stress).

It’s a great story. But in “The Idol,” part of it is not especially well-told.

★★

Adopt Films presents a film directed by Hany Abu-Assad and written by Abu-Assad with Sameh Zoabi. In Arabic with English subtitles. Running time: 95 minutes. No MPAA rating. Opens Friday at the Music Box Theatre.